A PACIFIST’S GUIDE TO THE WAR ON CANCER by Bryony Kimmings, with Brian Lobel; Music by Tom Parkinson National Theatre 4 October, 2016 OIL by Ella Hickson Almeida Theatre 7 October, 2016 How can you take an idea and make it visceral? Is it possible to create a thought which is felt, not just in our minds, but in our bodies, and even our consciousness? Theatre often works to move a piercing idea into a moment which makes us gasp in surprise, or even a gut punch where we lose or bearings, and must find a new way back to our safely.
What has 20 sides, is 100 ' across, seats 1,500 people, has hundreds of years of history, and can be beamed into your classroom or living room? The answer is of course Shakespeare's Globe, which is now working side by side with Montgomery County Community College, the classes of the Theatre Arts program, and Montgomery County through the PHENOMENAL work of the Globe Education team. Starting today, and through to 4 November, 2016- Globe Education is making educational videos available to students at MCCC and engaged community members who want to know more about their world. You can click on the links below and be taken to two videos produced by Globe Education - Playing the Globe (Romeo a
THIS PLACE WE KNOW Shepherd’s Bush Theatre 29 September, 2016 THE THREE PENNY OPERA by Bertolt Brecht, Kurt Weill National Theatre 1 October, 2016 IMOGEN (from CYBELINE by William Shakespeare) Shakespeare’s Globe 2 October, 2016 Theatre cannot, by its very nature, dispense with a sense of place and time: As much as theatre lives in a created world of transporting stories, it lives in the immediate time and place where it is created in the living moment. Because of this dual nature, theatre has a unique ability to allow us to see ourselves in context to our time. Three different theatre piece this week had me thinking
TRAVESTIES by Tom Stoppard Menier Chocolate Factory 4 October, 2016 The play starts with chaos: a setting littered with pages of books liberated from their bindings; the Dadaist Tristan Tzara creating a poem by pulling words out of a hat; James Joyce dictating ‘Ulysses’ to his secretary; the Lenin’s speaking in Russian. No moment of sense is intelligible, although there is clear intention in each of these acts. There is, in short, no meaning. Which is a perfectly comfortable way to start a play by Tom Stoppard. Stoppard is the Devil’s Advocate for the very idea of meaning. His plays turn on verbal word play, wit, pun, and double entendre. The action in his plays
